This series started as a daily drawing exercise consisting of rough, uninterrupted line sketches of my own photographs and stills from films I was watching during the pandemic. It was a little while later that I learned more about the cliché verre technique and the wonderful way to further bridge the gap between drawing and photography. I selected some of my own portraits and screenshots from movies, broke them down into more rudimentary practices of light and shadow, like in my Incorporeality series, and from there placed them onto tracing paper using paint pens and brushes. This process was somewhat familiar to me, as one method of cliché verre is to print images directly onto a transparent surface (like transparency film) and create contact prints. In a way, this series was the closest and most intimate way of returning to my former practice (with a new direction). Everything from the technique to the images used is, at its core, familiar. It is close enough for me to draw upon my past and still reach out to the future, which, like the faint images on the paper, is a new vision just out of reach, but within the realm of possibility.